THE SOOAL CONOmONS OF IRAN DURING THE FIRST HALF OF 20TH CENTURY A.D. AS REFLEQEO IN THE NOVELS OF MOHD. HE3AZI
ABSTRACT THESIS SUBMITTED TO THE AU6ARH MUSLIM UNIVERSITY, ALIGARH FOR THE KHkKD OF THE DEGREE OF Boctor of l^^iloiopttv m PERSIAN
BY MD. EHTESHAMUODIN
Under th« Supervision of 9 DR. AZARMI DUKHT SAFAVI (Professor)
DEPARTMENT OF PERSIAN ALIGARH MUSLIM UNIVERSITY ALIGARH ONDIA) 2a05 The purpose of the present thesis, is to attempt an indepth study of the novels of Mohd. Hejazi, one of the most popular and enlightened novelists of the 20'^ century Iran, in the light of the social conditions that prevailed in his country during the first halfofthe 20'*'century.
The study is focussed on how these social conditions have been understood, interpreted, elaborated and commented upon by Mohd. Hejazi through his stories, plots, characters and different events occurring in the lives of his protagonists. This study is also aimed at understanding and assessing this most renowned Iranian novelist of the 20 century, in the background of the socio-political scenario and the cultural ambience that prevailed in Iran during his times. It can be safely said that literature and poetry while being products of their times, also leave their impact on these conditions. It is a mutual give and take between the society and the writer, and in order to understand his writings, one must also try to understand the society in which these have been produced. This is the reason that the present work not only deals with the novels but also focuses and makes an attempt to understand and describe the social pattern of his times and how it affected Modem Persian Prose. To serve as a back drop to Hejazi's novels, a brief study of the genres of Modem Persian Prose have also been attempted. All available important prose works of his period are taken into account and critically evaluated.
The thesis consists of four chapters, the fifth chapter being the Conclusion.
First chapter deals with the social and political conditions of Iran in the early part of the 20* century. It describes how, during that time, winds of change have taken Iran into their grip and how the Iranian people have responded to them. This chapter attempts to provide an outline of these conditions and how they were responsible for the changes that took place in the prose and poetry of Iran.
Second chapter describes how Modem Persian Prose came into existence in Iran. It defines and analyses the changes that took place in the style, language and thoughts, preparing the field for the introduction of new prose and poetry. It also gives a brief account of the new literary genres in prose, highlighting their chief characteristics. It also lays stress on a new kind of social awareness obtainable in the novels and short stories of this period.
The third chapter deals at length with the development of novel writing in Iran with special reference to those novelists and their works that were Hejazi's contemporaries.
Fourth chapter is focussed on Mohd. Hejazi, his life and works, and is an attempt to critically evaluate Hejazi's novels as a reflection of the social conditions of Iran during the first half of the 20^*^ century. Following novels, their plots, characters and their social contents have been discussed in detail:
1. Zeba 2. Huma 3. Sarashk 4. Parichehr 5. Parwane
The fifth and the last chapter is the Conclusion. It tries to sum up Hejazi's role as a social writer in the light of his novels.
A detailed bibliography, in alphabetical order, is appended at the end.
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T6428 Prof. Azarmi Dukht Safam Aligarh Muslim University CHAIRMAN Aligarh - 202002 (UP) India DEPARTMENT OF PERSIAN Tel 2700937 Ext 1541 (0) 0571-2720624 (R)
This is to certify that Mr. Md. Ehteshamuddin has done his research work under my supervision. The thesis entitled The Social Conditions of Iran During the First Half of 20'*" Century A.D. as Refelected in the Novels of Mohd. Hejazi, is his original work and is suitable for submission for the award of Ph.D degree in Persian. Jjl^i (Prof. Azarmi Dukht Safavi) Chairman '1 •••tM • ^t4i%
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(/y|^-^b^^^ ri "The mark of his style is apparent in the official correspondence of Nasiruddin Shah's reign, in the works of the writers of the time, and even in the travel diaries of the king '|A "His style was influenced more by European authors than by the classical prose stylist of persia; argumentation was its essential trait, and this appealed to the younger generation as a new literary phenomenon".^ rK >.«U>i^ )>i^:>abt Ji>ij:! f-i/V)^V>l> Dy^(/Oi(/Jl^^ ^^ J>^vii j^u^Li^oi^ uSi>*(9Jirir (^L^y>*(^^ LtO:ji L^c<< 1. u/( [^>a'^j( (ATJ^U Jk^"-:^ c:iifr 6u^ f-fV ra ri^^«>c -jj^yB4;Vi£f(/c:jU(^^u^ib^L-v^^(-^^(j:;y;>B>^^ • »• •• ri rL rA J^/* t/^ l^^.-iJ b ^^HfU^ l^(/^ rq r- ** ^''^>f2£'vJi>b'jij£^U(/i^Ujt:o)^:>((jj>c^yj(yLbU3;^ il ,^lyvj( Jit L'>(/'>^'/6v^ l>^L/^^t Ji^'^-*'J'^'l/U'(/^^ ri J\}^i Short story cT^U c^u/fllr/i:^l:>t/' \J>h j>\^A\:}^J^/j?^.::>^^SjiMJ>,/ Nouvelle >c^L^b Single Effect {Sj^\i^\:^J^\i\:j>\Cy^y'^d>^\j:^^^^^\^2j^ -r rr •d^ IJUL^J rr rr /UCL^V^IV^J^^ ^i>V'(J^ U-^c3^'^ C^'/'-'^^ u^' t ^iJii ^J l^^ijp-^jiijiy ^}^J^i J \J>^^jy^^ \ji n (Id'/'O^L^ U^t/f t/(/t:iL^ jlU^X l^^^'ii^^^ r^ rA • • • • • • rq f\^^M^J.\^uL)^. : Jit -r ar • • ^r "Chubak can not be considered a mere imitator, his work is far too original. He has a firm sense of what story should be. Indeed if he wrote more, he has it in him to become one of the best short story writer in Modem Persian." ip -Jdi^ij/f', P^^ ifj^ ^y!^X u.itviijiAi yt/^^f r J:Z ^r "Chubak avails himself of the language of the people. However, we are apt to find exaggeration : For instance when he allows people to speak a vulger language which in reality they would never use." ^ ^ii f^u/irTZ: (j^,( Jij;(/^//Jlyl^byt J^^(/^ JL^^^ (51 :> "Among the younger generation of persian writers Jalal Al-e-Ahmad deserves to be singled out for his versality markedly individual style and deep conviction that sum through all his works." 1} j\S^j:j''<^^\y\i^Jj^^^c^^\^(^K^J^J^j:^i\[5j^f\ ^jj.yj. dA \^JJi, IT • 09 rr J'J^iJ "Among the new generation of writer, Buzurg Alvi has been outstanding ability in adapting 1* European techniques of story telling while at the same time creating works of art still strikingly Persian", ly • • * -C^9va^^>7yC>j>-i>jkt'UU(/>^^>i^i(j:l:c;UZlcJL^^^ ra ': j>^/5( V-jX ir ir ir :u;i c^Ab L/^L-L c/iybj c^T JL.^I 0%, c^y^tifi/" 1^ .vc^ffjii^dl/iJ^^-^'J/^Jt^c^;vj> BI^C/A^t dt/ c/Ju^yLc^}l:iiJAiJL^r/\iif'hjf^S\J^^ (i^tvjT J^t^jt;^ J';/' ii>^ J*^^ ^i (i;uc<^v(i;(v 11 ^ •» I** • 1^ (>t;J^J^i^>6:y2lu^0J(/y7i((/iv^j?Lri^j^ a^(jf'i;^'lr.i^UB7bi''c:/^u>/c.7(;i4^Jy(/^^ i^U^>c^jljiUXj(c3iy)c/^(j:!c^7^iJy(/c/^^^ 1A fj^cT^^U^ J^^^U^ (j>:^y^t^U Ji/^il c/uUi^ycK- ^iy^fj^i:/^ • * I :L^2£fj^^tifUL/0yc/vT(/l^(/^l/yc^ 19 (j^i/vii (/J^U ^^ j/( Jyt/-i>f i>tc (j:! cJi^ z.» U^-t^L^ Jf !?l^ Training Institute 4^w^>''i/c:^^'^l -^ f(i//^Ojj ^;w^l:>ii r^ j>^ ^r • • 1. ^Tjf j:!;^ tiJi/,^ joJb (j/.c^ ^>^ (/cjivii jjti'^ ^^^ yiiyi^'c^^ u^^T(/jy>v t/iV v^ V^''^^-'^^iJl^*^ L^'-L/'i-'-^^ Lr * • ^ (/Ui/ijvil (Realistic) J?y4i-c(|'^t^<>>(/L^A^^-»a!:^L^U>"l^l/^C^' L/Jl^^'>:>^ (Symbol) cxUL^/t;j^b/t/l: z-r ^''!//-»'t^(/'-«^(J'l^l^lJ^Ai(J^ Symbolicvil Realistic ;^^Ji^J!/// - ;^^ «^l>^crl^lf-(/^J^^'lr^(^ir''>^ (Dictation) xi^aL ^y/y!Cy^-^L/j(/dUJUMr^t^l/,^t->^(J/^i^9>( ^1 -i/u'5^u>ioyoy^>^*;:s<>L}/"j:r Z.Z. • f * LS (Xci'^f^'^U>" ^cF^ c^'-i^-'l:^'*^ &vlr(j:J: d!/9 l^*b jl>*T^ Uf't ^(5^ydui;^i) (/y i> ^1^3 c//-d^t/-''^iJ^'J'^-^i (j^ > i^.d'J L'\ ^J:^Jl-y^.} -^v^ii/^bv^ijc^jv^ JuXiZl V'^' LKI^ I ~ ^Y Ar w^)^;^^ c3/Vcj jfi^i^ U-^-L{i'^ j^ u-?:^'viUj^ Ar -»^^3L>'t"->t-^L^(i;/y/Lj^^r')yb^L^^^y> • • • •• -^^•^4'^ u^-^> J'/'(/^> (/c.u j( bviTij:!^ Vt^'''^^*^ ^^ A1 f//j rA/' Uljt; -9y:f^ L^>ir*^/^' ^'6>^fi'^Jl t^i(\(S^^j^\J^^ SL AA • • * cJ;.v^Jc:.uA*)>i^-/ _r Aq ll^lTcJL ; .1 •^ JS* ^1 -'c^(t/iy7^Jil?'9Jc^r'Jc/>'(iUL/iii' qi • qr J^L::*?-J>^ L^^^^l^^l^^ ^/cT^-i-^f (/»-^/l^^ qr • •• qi.^ 'C^^?:^V'^^'-^'^-^-^^V^^*^^^^'* (Subtitute) Jjl^Zlt:Jl(j:l:Lr>l>i^ wJ 91 ^hl^jii democracy jl!f;:-^(j:tr'UjlJ>f(^Uc^(j<=^*::^lJL>il(Ji>c ,^>:t^yJaJ>^c.(jL^(/^(y^ty^/^y8l7(/Jy7i(^t>^U 4^^7ilJr^r^Zl^c>L(/^|^il£6t-9>t;^y,LI^C^l^Jlryi^^^ I^Y^Uv:>Ulrol^l^^7ij/2-iii^>^^l/7byCC(jyi^^v^ijyH-2l(/Ll^L^^ i>^0i^''&^iri>^Urv^t^4-(j::^y(j^'i/yu.j>';^>^Xf^ 9^ ^A ;(.i.^)>^ J u c/'^-^ ^^^> Ji/^^^-'(/^ ^^ c^'/'^-^'^ ivi^;/?»J:37> u • ** • * !•! i*r ji^::- c^(3^^^L^w-><(/7l)(j:;y>-^ (Satire) (j:;y>ifeuLl/^i(4i(C.^»>>»f u;:!w^((i>Aii(j^/(/jv-i^(/b^^3Zl(/v^-a^ZlUi>i ^(J>(ii;^i(j:rujiL/c^ii^8ji>U-Lbiv^:JTi>j^)(/i^uy^iy^ \*r • •r .A v^ jy ijy;>^ ^c^* J^y^vrr .Ji; ;>^ y (^ c^l'jT^^ LTc^o^'ic^tf^J^^y^LrUwi/^i^^Liyijui^jyiiry^o^ Symbolism p:;r^C/>(/(J'(^^>-^(/f;:i^4'<^ i^f-^^iX uv/i/iJ^>^>Xvii i})\^\J{!f<{SJ^J'^z Jji^'iiiCJjj^'^jj; JJU M \J^6'yJ Symbolism i7.('^sJj£^^i\\i^iji^0i^J^J'^^^S^/^ l»^ l*A Modem Persian Prose Literature, H. Kamshad, p. 14. -A Ibid., p. 15. -9 i»9 ,rA(-Ar(/cr^.(rlrU';' ^rr Modem Persian Prose Literature, H. Kamshad, p. 127. -f^ Modem Persian Prose Literature, H. Kamshad, p. 128. ~^^ Modem Persian Prose Literature, H. Kamshad, p. 125. -f^ ^irA-rqi/^^ijrjijf.^b^^y ^rr Modem Persian Prose Literature, H. Kamshad, p. 113. -^<^ -rZA,/.cJ^lcHAr4 -^A .A»-Ai(/>y^:/vT(X-^'^k:(rU;ui(/i>«f>>t:yi>:^ ,v ,rA((/.vyc/vT(/lpj>.irirU;i -ir ^^4 r-y^L {Si^{jljUt{j\/i jf cr££.^U;^^j:!cilJ(j:^ij4^^.^Jyil^ I -^Novella Jiaijf U il (Decameron) ciV'l^^'^^d'^(Bacoaccio) j^ei^^f^vC^^yJlJl^l/^I^^Jli^l (William (i/^^Lii>3lOil6v>^(i>A^L3^^A^>^UMuji^t^^^ :J^l?/Henary) :J^l?/^^iLyQ/(/Jjt Meredith ity/l4l^>Lfi "Novel is a summary of actual life." li 2^/^/Sji^^^i^J^^yiy^^ "Novel is a comic epic in prose". ^ Daniel Defoei^Jci^jyi' Richardson '{:/'JZ^ "A fictious prose narrative of book lengths typically representing character and action with some degree of realism". * iir d'i"i-(/Ll^ (Cervantas) J^^i/^j(iS^J^^^^ii£ji^.6Jj^J'''^iJi L, Lesage^LJ>^iLrLL/;iiT^(j:;;j^tXCl7i/L' (DonQuixot) "^rU 4;4l?*/lU-^L^^i;li|/irL/'j;i/ori'l/'j:!c^^^^ Daniel Defoe >j ^[r^(tL:U/-^jA/''^i/d^h^J^^\j:,\^nL. (Swift) ^y/^^Ly^i -(/ "polite conversation" alfhhhJ^^^jt li:i c;5vi»J^t(Historical)L^vlri^^l^l>'yJil; (Gothic) (jyl/l^L Jj^lj-t/ (/i;^jyityl^y(/^ ^ Ji>^u.if >>•! ^1 (j:!y i:ji:>b ;y^(J/^yi( t/iyif c< If f^ i^L* (^ HA 111 yV^c^Jjij^d^i^y^Lj^JiXi^J^Li^^^^li^ji^J^ (Descriptive) Jfi'iS \r* • » ** * • in vji (JiJj>^ cJi:>0 JirT-f- tf-lf L/L^ Jy ^ (/u C.U jOt^ ^Ji^Ljij) Ji •• *• •• •• I l/vt^c^LJ c^i^vc^L ;:*/^yi J-A^h ^;f[^hjc^J/h (il/l:>//' irr • * T l/v^ irr • A t • • LTV IT (/^^ L/1^ tM J^U>c?^ Zl «L>f vjf ^J^:;^ c/v^ (/vlr ^ir^>/(i/c^' ^^y I JiJ JJ\ c>-( d.ji>^ \rc> ^JJ- in \r^ irA • ^ •** 7^*(/^/r9j.b cJi^ "^j^- d'/' Ju^' c?^v o^;( J' * *^ 4 ••I t irq "This novel is far richer in action, well ploted and full of uneffected events and dramatic movements." U ^/(/i; J/L/:/'/^? 2L (/Jit J''j\;ji\J^L OJU [f"f>i\^L uVit lit iJx ir* jU^s^/jy^vlrJc^ (|j^y (/U^i/ib(cii^l^oyi>^ iri 4 • •• I irr irr A curious work which openly rejects all European influence". X"^ irr irii :J(kiU^J t;:t ^(/^^( t/jLl//uj::*i; (/^/U-Jiyi^ ^U^U A^ c^Li: (^ *• • •* Xs^i (/vU C^L;VJ> Jbvi 6J^>^' Jf^' (j^i dt^ c^c/'" in vplZl6-^y/UiCj»»t3'/'i- Sensorship ^ji^^/sz^iS^^^^Mj^ f A* in:: irA >;i j^-^. J D (/IPI {J3j^ Sj\j.ji tji}-1 (iU jA JV'J'^t "From an artistic view point the novel is of slight Significance".X^ "The language of Tehran-i-Makhuf, though Simple lacks the face of that in Yaki Bud Yaki Na-bud, because it does not sufficiently adapt m itself to popular speech. In composition and style it resembles more recent Journalistic essays". ^^ ir* ^^ tr If j^/^ (jy^Zl t:i(t/'l^' l^^!/>^'^* Oi::}jx}j/^ t>f^^L^ lr> » \n irr irr irr JI^LT^V^ VL/T C:/U Zl U^hc;i^^6^>: (Juil/L^6^^ ^f-l^A/^c/' \rci c^-L 9>c^ )>t; (j:! £. in irz. irA irq ^-/ji,^ tr(^Lv/i [/>(/(/t^'i^vyrt 4*^ c^l^Ju^^^ l^r M M M X •• •• \Cir A Background of the Study of English Literature, B. Prasad, p. 193. ~^ Ibid. -^ The Novel and the People, p. 74. -^ ,U^( -lA Modem Persian Prose Literature, H. Kamshad, p. 46. -H Modem Persian Prose Literature, H. Kamshad, p. 49. ^ff History of Iranian Literature, John Rypka, p. 393. -ft History of Iranian Literature, John Rypka, p. 89. -f^ Modem Persian Prose Literature, H. Kamshad, p. 60. -f* ^^^ 16^ I (If • • Ahi}Ccj : ^jj\^J • * • • JljC-^^(/bj:t St. Louise Jyt/j/lJ/^ {CQSho\\c)Ji^^\L\J\/A (Wireless (^{}^U^Aji^Si/^f^S(Political Science)c.UU communication) "He travelled to Europe, studied political science in Paris, and later took a degree in telecommuni cations - a typical example of the vagaries of scholastic careers of Persians sent abroad for higher education". ^ 1^1 "Iran-i-Imruz" was the mouthpiece of this organisation; subscription to this Journal was obligatory for senior government officials" ^ \0)L * >V-;-L3y*Jyif(Jdlf-J^jL> ^(Harry & B. Overstreet) J^J^jii)iAy,njA -'/^-'(Joseph Gaer) .y/IjJi^-cJb (Sigmond Freud) i(i9 ^ -'l2^(9>(A:^yu^(yu^ n* ni •ul'd\5K^3^L :^>*< "Although a prolific essayist and short story writer, Hejazi Suffers from lack of versality. His themes generally revolve around the negative aspects of human nature and how to cure them with the authors evasive nostrum". ^ \^r "He subtitutes asbtract moralizing and medieval didacties for the realistic method of disclosing reality", jl nr • • Zl gZl C.//3I J:^/^ t fe^l^ ^wJ^^vJ^ JL/l/L^ l^ iir • * • na "As far as the subject-matter is concerned, it is one of the author's most dicisive and positive works. "JA ^yy^fjh^.^./i ^,Ji\'/\j^\f/ii i^^t^'hjd^y^" 111 n^ ^^ MA nq "Zeba was the culmination of Hejazi's talent as a Novelist". X* \L* c^i; c^D^(/Oii^ t/JUrO Lri;^L/I^ 9'V'^ (^>^ t>^^i^ \Lr i^r i^r ua 41 y^ Irlf / J. ^ (/'w-^ 7i(^ (J/Jl«>l L/y^L^^y/c^9i-*i^ 1^1 • * XL :\P,^\J\^.f^j^ 1^^ ^ U^vL Jc^U^:)! tyjiyi ^t/'u^ U^Lflr ^^^^ULl/-^ LC'J>^ L/' Jl>(/(ijC>i4^vji(i7 ^\J><^^^Ai>i/^ \:W^^jJi^\j\^ l^(/OiL^ f ifVr \L^ ^y;i c/'>y uy; iii^y J>/(/j iJiii J.U cjj ^('y/^ ^c^i \^* c/i; J£^. ^. t/^i ^) ,->^.>c^^y (jrYji^^" ^^v^iri rr- Jj:>j.s^<< A LTC^IJUI (^i.i% (j^i/^ i_i^( 8/i> ^ ^>^(/i 9j y^ -^(3^LC^Uy/(iujjr^T2l(/i,j:::>Xjli'^ • • • * • • lAI lAr lAr r9 J'^lj^J'^3j^.h.::J^jC<.=^hJ/' lAr c^t/c;if(^'4^f'^i-iviio lAii r^ >c^Li/9;u)UL(-^^ IA1 lA^ (AA I. ' r lAq • ^)9^y^t-T^jf!?^cr>^^(/'wpf^c3>^^U^^ (9- (9r nr : iqr \^Ci • *• * 4 ( 1^^ J^^3 y t/' j/J^\j\^A^}{jiP'j ij"j\/\j d^Ajiz 'c^'/ H9 r** r*i : J^ l:^'^ (Jr^ Li J yi'^i:- r»r :/ r»^ • • • • ~4r M WyyV^j .••If r»i 14 ^^ • MT" ^ t • • • * • • r*^ ideology * i l r»9 * ri* ni * • r\r f »' ••••••• ~ nr l\/d^/(jj^'jh/Su'ijiL^\/iJ\:^h well plotted jCi/c)\:^h{^\^jL.j\^Cut "In a glaxy of interesting characters, all alive and extremely well defined, each illustrates a particular Social type.". ^* i/J^^ JHV'^ ^t^ ^-^ ^' rir "The book is almost a compendium of the lies, crimes and machination of senior government officials and other notables to achieve their personal ends". ^1 r\Ci rii n^ -l^^/jjl^(ii/<^_4 j>Lf*>tlf 9iji^ fyC>^ riA I, nq rr* rri tb.vK^l^l/V(^(X<^Lf'c rrr i. ^' »iJ^ c/^^ tv>0^ jl^y J ^i/^)JJ^yr ^t/L^ b^^^ • • • * ' ( • *• ^^^ cr?w^ irif^ JU^iy I^LTI 4^J^l^^ i^y^i-irif^f Jii^i i^iijtr-^^^ rr^ 111 -'i^i>l/^(;T i, • L/'iS^^c^^if Ji^-^'Bi/^ c?u i;U/'(j:t>Zl J^l-^(^ ^r^9:> y^ rr^ rrA i t, rr<^ (/i>-^C^I^Ic>^>vil^l/9>/*^Jl?^l9^^*^ Villian I^JituT'c^^ rr» rri • * • * • • - J?iLjf7J:0 ^^^ L 6^J^i^' V Un* l^J^T-f- (i-^^^j^ (j^vb/c^J c^< (j>'l/(/(J;u-Zl ^/\^ f.^P' rr(> * m rr^ rrA * * I^/D^V C/>4 ^ Jii^' c • 9J oijty rr^ i a^j fj^/h C^^f Jr^df^ '^/Jii^i d^J^ i\>jr,L^ Sj/iU /Jl*; J.(j^;i (/i/f i/ou^i (iAi(i5 r'j'cr^^ (^i^-^ ^j/h^/^t rr* Jl//>i::VV^t'^^t> ffvij-J^l^^ f^i9>c^z-^ ;^^-^/ rn rrr • ^^ • • • •• ^>t/j/c^) i/i^i (Jut (/f'7'- f^'^ d/?^ o^iyiri f^p-f- * • Y/? c/Jh ;:iv!/r; vr.U ^Vl J^J (iU f^l^'y (/«t i/' rrij •• • • ^ • ^— •••• ••»• • k ••• m Jl//i u^J l>^0^;>^ lr.....>l i>^>;^ CJ>?(ir^i JA c;^U/ rr^ rrA 4 ( **A ^ Ly) jpr ,"y>i/c>(i:ryji/ic:.i;i/....(ii L/-^ l;::^ c^4^ 4^^lf flf'' oj>'i}ijhijL tjl/ii^y t/'-^j:- ii^/'>ic cf U (/;^i -^cilf(/J^I'V'(J''dy(X^*wJV^ CL^^ rr<^ ij:^^^) Jii^) l^t:^U li^ ^ w^(/(/) (^ JT/ji^^ ra^ Jj^j^^ "In this story, he sees reflected the morals of American Society, which are governed by eroticism leading man to complete nervous disorder and crimes." ^1 j/f/Zl ^/U- (i//^U^ c^i iS' {j*y, J^ Jit LT' 1- {jj^/^ c^^ r(ii rOiX (JvCy^^l Jv/-!>t (/c^A C/?^ b^A<^^^^ xoir rar raci fe^/^u-^)^ J^)/j^;^ cv y'l^^ wJiJ^^ i>J-^ t:^y^i^^ r^i • • • • rdL (j^^u eft ^'/^J t-^^J J^ (ji^^^CT;:?/' rtiA (i/^>iy BjUiij/Zh^/AI u^Dh\Z...c^^bp(jf Ouf^Jw^^HI^*l^/^(9^/il/yw:^^;iLf'^^^y n- ni '^ A *• • nr f,.^p. i'uZl(yL^fe^j^^iy^(r(f>fX'^(//^7i/^ir^l(^/4^^6^^ r^^ 9JU>I t/;uiy J/^jf 9j//i 9J7^ Ji^ J 6i>f^!/ J^" (/''/d-e^f^-^iiJuu^fvbyji/t^cjTjuiV. c^ L:r."yv^i/ivi^^jc3^(ji)/t;jU:i(j>;^i/Jyc^iy ^^^4' (-^ f^^^ '''-^ <-? -'-^^ f^^^-'^ J Uv^L/oi j:jh/L J'L^\>,^ t/J^U^vJ r^d i(^^(/l<:;i(/uTyji/i;:%£^^t^;;r;i9jijL;,^;i>/^;rJ^^ rii n^ riA (j't/^J'i^/j L l/^ i-wa>^(ji Jj>^ i/Lf-vb/9> iA» ,"^-iyyJuj^-ic/cf(/L/i^.cf^Oc/^i^*u n^ r^» kit ^ - ^ I .- "^ f r^i XLX ....9 V> ^ 9V^^/c^'(/'>*'L^-^^ liUi (i^>i (i>*; C^ XLr ^y94;yL^Wl^^(^^4^2i^^c/jUj-^(Xe'y3£ (Thomas) t/iyv'j/ /r^iJ^-^L^uL(;ji^/j^v9i7^(/uyii^yy^iJ^JiJ^i(jij r^r • I • 4 * # * XLd ( • •••••• theme rz.1 ^ • u' v>v r^^ -^j/r r^A r^9 J^/CLJL di;/7ii ^^1^ j'ji.^ (X^/jui/j.^iy/X/cK^ J^iji^B^^/ rA' ;< U^^"y /{fl ^y^^\:, ^vly ;i>UI "^.(^helf ^ rAi • • • • * • * • rAr rAr w^/41 Jujtj (/c.//.! jrtu:! J^^ t/tfe J^(ic>^ur'vi^A(J'6y> r^r ij/L dty\L \S,^jj r^jiS^ lr/(/^vy/(X/b/^ /*> ap' OL ^JJ> >''i^(i/pi?>Oy^ J!> rA^ ^6 -'f'^uJif>-;c5UL?i^ rAi rA^ TAA ** * V nr ,'>>>' 9i<::^ • • * t , t ( M^ /3^B>t^(;r^/9>j>t/uy^^.^^i^.yi/i'ci^oj?;^ j:n,'Lb;Uju>^w(yu^4'cr^f^'^^>;»iyi>^i ni 1** i«i^-^J^c/?-^><>a(J^i;Xlr9i(j:/j^^ m ,'>-(;>-(/iyi/i; (iU&" g .C^If^^U^b c>:!:^c,:^ J^UJK ^:/ Jp" ij rr\ J'^^ rqr rrr J'x^ rqr c;l^yj^ Therse Roquin i/^^jU^/Ll}fJjif^i3yl^0Ji^L^\J^)ly:Jll))Ji>j>di' "The influence of Zola's naturaslitic traits can be detected here and there in Hijazi's works as a whole. But it is hard, even by a stretch of the imagination, to see an identity between Hijazi puritanical ineffectual book and the grusome but forceful novel of Zola." lf(*' "a situation typical of Hijazi towards passion" ( ~ r^a M1 :<^ try jL>8i<^ o!cir nA • •• • rr^-'Sy; (J rqq {jff'i^^ Modem Persian Prose Literature, Kamshad, p. 74. -I Modem Persian Prose Literature, Kamshad, p. 74. -<^ Ibid. -1 Ibid., p. 74. -^ jrr J .[iff -II .irr-rr J .[i/i -if -J>c^.//jl^j -ir Modem Persian Prose Literature, Kamshad, p. 83. -Ii^ Ibid., p. 74. J0> Ibid., p. 79. -11 -in J'^\S^^^\:)^y\Ji/\^\:.)\^jA -i^ Modem Persian Prose Literature, Kamshad, p. 82. -lA -A-9(^>.J;^^.c<^> ,H Modem Persian Prose Literature, Kamshad, p. 76. ~^* r*i _rir-in/ 'LiJi -f<^ jc>\-c>rj' .Lifi ~^Ci _r»r(/ .[i/i -r(i .rriV .[i/i -r^ ^rL*J .bi -r^ cUJi -rr _rii(/ .LiJi -rr _rrAj^ .Li^i -r r^r _r^^(/ .ui -rz. -rn,/ .pi ,rA -rr^(/ ,Li/i -rq _(5£;/ .bi _(i* ,^r^ .bi _(5I J\Lj ,UJ _(5r jr*i/ .b< -£ir -1<)(/ .Li/( ,(5r -irr,/ ,Lis;i _(ia .rrr,/ .[i/i -iii ^rci^J' fbi _^z. «irz.(/ rU»;( _(5A _rr;/ .Li/i -(i9 ,iri;/ .Li/( _1» _n^(/ fb( -11 jr*^/ c\;^\ -ir ,n (/ f[iJi _ir ,iM ;/ _nr (/ .[iJi _1£5 -ir;/ .L^( -11 Ac^-AZ. J' .U"/ -1^ ,!•• (/ .bl -1A jrs J' ,^1 -iq ,1(5^ (/ .[if! _z.* r*r _(iA J' .u;i -^r _rr;/ .bi _£A >rA» (/ .LiJi -A* _r^r;/ .u;i ,AI ,nA (/ .[iJi _Ar _rrz. j^ .bi _Ar j\Ci J .bi -Ar _iiA J x^j ^sa JX* (/ fbl _A1 _rqq;/ .[iJi _AA ^r*^ J .[iJl ,A9 _rAi (/ .Li;ii _9i _r(i^ ^ .Ufi _9r _rrr ;/ ^Ci" -9r r»r -.^rsj fLiJi _9ii .rrq J fbi -^1 -rAr J .bi _q^ -rq»^ .LiJI -^A -«i»r J *• Persian Prose Literature, Kamshad, p. 76. -'•* Ibid. -!•' -ir (j' i^ ,i»r -r^ J .;^ii^ ,iT .rr-ris,/ jrLj X^\ _io jrd J .U/i -lo -11 (/ -irr (/ (L^l _I»A .n—nr (/ cLi^l _i»^ -'^t/ *• -11-1^ J J^J ([i/l -llf ^r* J fLiJi ,iir •• -Aq^ _iri-rz. J ** J^sj J^LJ' ro ,in j' .[iJi -Iff JXL J .b» -Iff' (/ .[iJi _irz. J <[^\ -irA ^ ^LiJi -iM (/ ^fe( -in _!• (/ .Ue/i Jrr J .[iJi -ifr ,ri (/ .[ifi -irr _irq ,/ .[ifi ,ir(5 _r^ (/ .bi -in _ri;/ fLiJi -if-^ _Z.1 (/ fbl -irA _i(iA-(5q J cb>)f -in -irr ^ cUefi -if^f r»i _irA if tLiJi -i(^^ _I11 j" >i jar _^^ Jdd Modem Persian Prose Literature, Kamshad, p. I'^.Jd^ _ir* (/ fU;>( -( _iir ;/ _AI (/ cU;!! -1^1^ r*L _!• (/ .Ufl -MA «irA;/ .bi .1^1 _Ai-Ar ^J /[jiaii _iz.r _rz. (/ .[i/i -1^^ _A* (/ cLiJi _I^A _Ar (/ .[i/i ,1^^ _ir» (/ .[if! ,iA» _rr (/ .[^1 _iAi jrr-rr J' .[iJi ,iAr _I11 (/ .[i/i -lAr _nr (/ .Li;'! _iAr _ir^ ;/ _irq;/ .Uf( ,iAi ,11-1^ f .Li^l ,IAA _9^ (/ .bi -i J*^ J .[ifi _i9r _in (/ .bf _i9(i _l»(5 (/ rU/l _I91 ,ri,/ rLi/i -t9z. _9r ,/ .[i/i -I9A _IA ;/ .[i^l -199 _^ (/ .bi .r»r _l»(i (/ .b( -HI _i*9 (/ cLiJi -fir ,^9 (/ ^Lifi -nr r*9 >(5» J .[ii'i ^r\0) _ii J' fU" ,rn _iii-iir ^ .[i/i -ri9 _iir ;/ rCiii _rr» ,19 J (Lit" ,rM Modem Persian Prose Literature, Kamshad, p. 78. ~^^^ ,11 J' .U^f -rr^ _ir J' .U;( -ffA _n-rr j/ fU^"' ~rr* ^^d J' ri>i ,rrr ,ri5 J .Li*) -rrr _^(5 ^ .Li") _rro ru ^^t ^/i (i^i c^/cTc/ly Jl^lvl^*(^:>l (j^i/^ d''^L^^-^(/^^ C^^J'L 4^ (Jir (j:t jy^t ^i/jU J.kyt^4-9i/^^ (jr-*i^ (/i ^^^ rii irJ^4)ruyv/-(^^T^i^/Vij:rJiiV'(A/i^^/^^(j^ J>^y>^y»i/>i;j^ia>(iW-^3f^cf^ rir rir ^ ^i>*f/l-l, (JiT-'l^^ l^JA--C^i^ lA^^/6 IJ^ Oi^^ (j/^^>u.-^ LUG2^/6UJ ir'J?'£ (jil/^o^i^ \/uiJ:j\JL j3^c//i>oT l^t^d'6>(/'^-»'i/^^tTy (je; (/^/^(/(^y jiy ((^^ rir no Ideology rn >» r\L ^uiT ^ijya ^Ja* • ^ \rac> c'!/ c^'/'^^^y^'-s'-Mi^-j'jiI-i' .1 iriii c^'r ('jj'JjiJf'tflrU';! U'^^^j'' _r inr o'r c:;i/ic/-»''^U-'' ^M'Xy' ,r ir^r t:^'/ JiVia^l/^cJ'/'^-'Jl^^'j^U-'' (( (( _r \rr^ c^'r A^jj-yj- JiJf'^'iJT _£5 ircM u-"/ ijAJ \jj << (f _1 irir c^!/ /^\:y)iJJM'ijVy2^y)i jfi<\S^^ _^ r^^riS U^/'y/x' c^ irr* d!/'^/^ ^u-Lr/iJ>* ^yf'j\^i _^ irr» ^i;>fi/'r' Jt/.jl^i _!• iriA C^'/'V L^JU l^j'lfU _ll c"/lc.Ujlic.uW^6^f }j^)i\(\j)U _ir irr^ c^!/ {fi^Jj'.y'cJ'i^iijvjj iriiii c^'/'/rv:^! fyj^'iS^Ji^ (?XI^ jr irrA c^'r Cllyl(/ljiiji(/u6^f /•cHkir. -ir iriA c'i/)aJ'iixViPiti;i^)bvf C/^'9-''vU _i(i inr d(/'jL^' c;'y'vjc.ivVi£;vt-L(iAiy^ I^U''(i»i -i"i irn ci -'JTil-'-^d ch/'jji^u -1^ irrA i:;i/j:V^c:;yir c^iyjc/^ (( (( -lA iriar X^!/^ a (( -H irr* (jf/P'v'iJ cr>t>- :^/ ^(^v>0'C^'Jjli? _r* im Jvl^^ _ri riA • L ;tj^/t ;%.^^ ^^j^ y^U-cUjI J:^^'(/u -f'f ^ J<\SJ^ ,rr cif/f'trc^' ^-^ ii « _rr c^'/'trc^' >:f< « fr _rd i:^(/'trc^' ay dl/'trc;/^' irisi d'/'trc/:' ^J^T « « _rA \rci\ c^'/'trc^' r!r. " » _M \rc)\ t:^!/'!^^/^' ^ ff c< _r» dl/'trc^' ^r « « _ri \rr» c'l/ Ar^ij /^((J^'cJ^ -rr \rciC) ^' (>c j5 ^rr \rL* JLJ(O.I>IPI t:i(/UUv(/'»jb7(r (^iji^'i}j^j ,rr irtsr d!/'^' • c^V'^Vii/y; ,r(i irii C^l/'sl^-cOl^l \J^yh}<{jtj^J (>^>V -^^ U'/b^^ (/^/'C/^^ -^^ irr» c^!/ ii/jhP.} irid c^(/ 6>^6^ Uxij-V" ~^^ irrr c'l/'trc^' j\ff'S^z^^tJi3Jnj\y\ ys^^f^ -n ir^* C!/ {jjit/iyi t/j/r/j'i h^y^\./:ft^^j ^(Vijvx^ -n irrA d'r LfvlJT^i ^J/b^f iilgi"'!^ -'^'' irn (/v^-J/'bi^yc^t^o ^^,JU^ _rr irrr >li ris JCiMt £^ • \rr* t^iUviJUjvLjyj Jj'y.'\S^ -ri irir dl^» « « _r^ ram U^/ cUjli^jl (Jc/^LfV -r-A inr u^/'Jx^ ci'/Uj/'b^t- >^''li^X -"^^ irrr c/'/'l^c^' dr'/'ii^'^r-b^t- ('IHJI^UJL/ -£i» iri9 >Hj:.fvl?^l uOi0i(/yi>Lcr'ii7;j^;>;^ inr dl/cT^^lf c^i/^>::^ij^ f^i^'JLi/ -iJr inr d'/'U c-'>l^' C^'/'^^rVU^*'6vt- liV»-''>^ -'^^ inr c'!/ C^I/l7j(j!Uc^Ujl ^i^f.^y^ .ar inr C^f/'yCv^'^'^l^' (3jf>it^Uj(»vivj j^})y/i'3ji _(5»^'(/^ - HS* jfii wjljiyit; c/>JiV)^'>'' -^^ 1991 3\JjJ:^ J l^c/kv rr» ENGLISH BOOK 74. Allott, Miriam: Novelists on the Novel, London, 1965. 75. Brown, E.G. : A Literary History of Persia, Vol. IV, Cambridge, 1974. 76. Brown, E.G. : The Persian Revolution of 1905-1909, Cambridge, 1910. 77. Brown, E.G. : The Press and Poetry of Modem Persia, Cambridge, 1927. 78. Kamshd, H. : Modem Persian Prose Literature, Cambridge, 1966. 79. Prasad, B. : A Background to the study of English Literature, New Delhi. 80. Rypka Yan : History of Iranian Literature, Holland, 1967. 81. Sutton. L.P. Elwell : Modem Iran, London, 1941. -f^^ rri THE SOCIAL CONDmONS OF IRAN DURING THE FIRST HALF OF 20TH CENTURY A.D. AS REFLECTED IN THE NOVELS OF MOHD. HEJAZI THESIS SUBMiTTEO TO THE ALtGARH MUSLIM UNIVERSITY. ALIGARH FOR THE AWARD OF THE DEGREE OF Bettor of 3^f}Hoiop\fy . IN PERSIAN BY MD. EHTESHAMUDDIN Under the Supervision of DR. AZARMI DUKHT SAFAVI (Professor) DEPARTMENT OF PERSIAN ALIGARH MUSLIM UNIVERSITY ALIGARH (INDIA) 2005