CONTRIBUTION of BABUR and HUMAYUN TOWARDS PERSIAN LITERATURE Jboctor of $I)Iios;Optip

Total Page:16

File Type:pdf, Size:1020Kb

CONTRIBUTION of BABUR and HUMAYUN TOWARDS PERSIAN LITERATURE Jboctor of $I)Iios;Optip CONTRIBUTION OF BABUR AND HUMAYUN TOWARDS PERSIAN LITERATURE ABSTRACT THESIS SUBMITTED FOR THE AWARD OF THE DEGREE OF jBoctor of $I)iIos;optip IN ^ PERSIAN BY MISS RAN\ KHURSHEED Under the Supervision of PROF. AZARMI DUKHT SAFAVI DEPARTMENT OF PERSIAN ALIGARH MUSLIM UNIVERSITY ALIGARH (INDIA) 1996 r. ^^ss- Title : Contribution of Babur and Humayun towards Persain Literature. Supervisor : Prof. Azarmi Dukht Safavi Department of Persian Aligarh Muslim University Aligarh. ABSTRACT For nearly eight hundred years, Persian Language and literature has been an integral part of Indian life and culture. With the establishment of Mughal empire by Babur in 1526 A.D., Persian prose and poetry grew in every dimension and made in roads in all branches. Both Babur and Humayun were great patrons of art, pofttry and literature and had contribut­ ed a great deal for the promotion of Persian language and literature in Indian. The object of the present research work, being submitted for the award of Ph.D. is to assess and analyse the contribution of these two great Mughal kings to Persian literature. The thesis consists of an introduction and five chapters: The first chapter deals with the political and cultural conditions of Babur's time. It was deemed necessary to present a brief critical background of that particular period so as to familiaries the reader with the chief intellectual and cultural trends prevalant during Bubur's reign. The second chapter describes in detail, Babur's role as a great patron of literature and gives information about his Turkish/Persian poetry and the Tuzuk-i-Babari, an Important source of history. In the third chapter, a brief account of the social and political scene in India is given at the time of Humayun. The fourth chapter is devoted to critically analyse Humayun's own contribution to Persian poatry. The manuscripts of Humayun's Persian Diwan, available at Khuda Bukhsh library, Patna, has been compared with its printed edition (Edited by Dr. Hadi Hasan). The last and the fifth chapter has been divided into two parts: First part deals with some important scholars and writers of the period of both Babur andHumayun, (e.g. Ibrahim-Bin-JarirPMirza Haider Dughlat, JoharAftabchi, Yusufi etc), giving their biographical details, introducing their important works and analysing their literary value. The second part is devoted to poets. It provides a brief biographical sketch of some important poets, like Atashi Qandhari, Junoobi Badakhshani, Jamaii Dehlavi, Mir Owaisi, Qasim Kahi, Khankhanan Bairam Khan etc. A critical appreciation of their poetry is also provided. The main thrust of all the five chapters is to assess and establish the importance of the periods of these two Mughal emperors in promoting the cause of Persian literature in India. A detailed bibliography is appended at the end. axhi^Juj^' (MISS. RANA KHURSHEED) Department of Persian Aligarh Muslim University Aligarh. )) f-mj^ VI. -A ir s T4985 Dr.Azarmi Dukht Safawi I'HXVitlliU rs;ar, \c: TO WHOM IT MAV CONCERN This is to certify that Ms. Rana Khursheed, has worked under my supervision and the present research work entitled "CONTRIBUTION OF BABDR AND HUMAYUN TOWARDS PERSIAN LITERATURE" is an original research work submitted for the award of Ph.D. (Dr. Azarmi Dukht Safawi) Professor Department of Persian ' IS Jr i}l^ ji uw *^i l}j^ [^ l^i-i^ J ^ ^ f'L w ~ > > ^"' V » rr rr^^i 1A. q.v^ I • • ^r. \ro irv nr i*^ r- r^ (>' r^j>. rA r / ^^ -^ ' * • •• »* • / • ' *? • • * ' / • *• I • • »• t^ »4 " " •• ( ' ?' .^o-' •/*' • ^ / / ^/ / • • • I •^ • ^ 0 0. J ttf L. I -t. -./>.i;/;v.//4/uiu;^02y^£,>t^^^^^^y^^^, r r' I -. Uf^^ di" /yt L4£^< -f:^^ ^y '&/ >^ j^^J 4 —7^ 1 O&i X \ 1 t^^K CTA ^'-^ * * .«• * ** ^ i-UrOy; IU.j/^^r/o}^^ ^iL;^(TWyyjJl iiii'o^;;JVf'X/i'yc^ij^ .(yl/l>U * Hrj^^lyL*i ».-cf --1'^ t ^r-r. t^y I Jy. * • * > ** / » • r^r.r^H^,JJ;^,^yt (I . • » \Y c>>>Uc/UcJ^^ (T.LI^c/U^I^ Uj^t^LPy^t/^ Il^ * • ** * • • ^ * ^>yio}///* XxiUhJiS^J^OX);^^ dyoy/j\{J\^ » T ^ * / • • • ' —•—•—• i^^'</>L*yt*^ ^r^'//;' ^lMLj;/>if.iW(/,J>/y/,^t>/i', * rt ^ * • * •H* rr X rr <7tr/ rr 0^' .il )J> ii. He died at Agra in 937 A.H. (1530 AD) The followinCj chronogram was at once composed by his Court poets. (^History of Persian language and Literature at the Mughal Court - Mohd. Abdul Ghani, Vol. I (Babur) P.150 Allahabad, 1929). iii. Babur's stermy life ended in 1530 wt.en he was in the forty-eight year of his ege On 26 December 1530 Bobur Passed away in his palace at Agra. His dust lies in the garden below the hill at Kabul, 'The "weetest spot in the neighbourhood', which he had chosen to be his last resting place". (The oxford student's history of India, Vicent smith P. 148-149, Calcutta^]972) ri * n 1! ri^ f r • ••••» ' / * 3. Memories of Zher-ed-dih Mohammad B^bur, Emperor of Hindustan. by John Leyden and willian Erskin - Vol. II P. 428, England-1921. 1. An Empire Builder of the sixteenth century summary account of the political career of Zaheer-ed-din Mohammad Sarnaned Babur by L.F. Rush Brook Willians- Page No. 19 Ramnagar Delhi - 1915. rr J I rr H. ' •*.' / .. (cJ:>>;Vl/;r^UL>v^L^lJ')c>L>?Lylj'yc^'y^>^'> ' r I -r rr '.c^.^6\ •• • • * » » * •• • • i * ••»! • »••! Ul I •••• I •• I I I •^ • ,^^.^^^1^—^—• •• • •• III • ^ » a I ' -" ^I^M^^^^^^^—^^—^^W^^^^^iM^^^i^——^—^^^^i^—^W^^^M^M^^—^^—MIII Pll II !• Ill • i->^ii-/ 1 'y^ ^t|;l c)U l^k>/^^l^ U> Id b* I c)j>y-J^CJ I r. :t;L- » ir.L/.^l'jL » * ><>.(jf;:/.-::-^>^/-' >>. till/ >^'ly;;f/' * » I c^\'^^^6 j^ d?'j\(J^''\ ^^:^iiJ (i.c;i;/y^l;j';v; :1C::^L; . / • * » /A • * • *<^ r^ • • » r/> * I • - r / ^1 CI^OJ'; c^Oly**;/(X-^ (^IT-c/f/:^ C^y>^r' f\r>r\^^Jjcj^^:l^ r, i/j>^y^ ^Jy^J fy J^l^l^"^jy 0^ <^ :' ^ * * rn.u'.(Jy\^.i)yu^)lJ)f^i}'X^^y^^'^^ - • • ^ ^f -JJ or .r^,C^.^lyl. I r-.i/ // // oL rr,r),if Of ^vutS'^UiJu cr^><v-4^^ ^/^uXh^iJX^cf fs:^6^^^^^Kt v^ • • • i oc> • ****** -• ' * . * *^ ^1 >*^ y^ >i li H e; O^^y; i • ^ * C>1 jti^^^y JM^ ^f ZSC^^OL:^^^ .4-r/^i/Z^ ^c^/i^^^L/Uui/cT c;>^ d'^ * ^lo--i -4- .^1 * * il -^ >/ * i I ' y , Mr • •• * ^' o^^; lo> c^l ci^ijj^if^ljj^ » ^0 J Li^lc/i;;;bc^'l(^.. >^*'^^X/^L^^'^^''Ai:5• ( *^ • » • - • \r,u' o cT M^ J * * 1)^ .(/•.A'A^ WH.L/ cL r wo.W wr.ff r wr.ij' '. 4£ 'i;:^b CA^ ^^ i/j ojjjjLJ/oji r r ._j ^0 H/s •^^y^jf'i iq •c;^-(c^^i^)^.>i^-J.,y^J,^,^J^^ ^0j^^ y^o\ii^< * / •MH^ • MM I.. —• I , * ''J^\ "'iA'/j 1, i.r LT /.r l(i V^>(/l. V>^L> t;fl)f^if l/uiy^l/jl,>>l^./LU^lU ^^>> J't;y>> z^ '/O^' r- 4^pr L^ ^^i; V >r * * >M ^ - " ** y "* y" .£jj((J';,fJ M AA • • • / ^" » .a::>^;U^.r^A.c;-.j;i.6 --yi'vY.ui.Viy^Li^L u - • • • 9 'I ^/cjj^y^^jj'd' ^^y i^y^ (^c^ )/^j^j/ ^'* -c/'^>' '4^'i^'i->*-jyi<^y.*(P.y ai (H I I ^r (\0> >^c^.^j^'^W),c^i^j)^^\)y^~-)\\;\r 'i ^"s •1\ •X v. i ^l \^jiyj\i^:^it'} • •• (^Folios ) cj\$^ri^.L^\i'^d'>a('^M'^^\^{:)\h'!f^^)\P\{fj\iL^ ^A •.^UUy^/l^iirc/)^. (authenticity) c:;/^^^),^.^ :^y • («••••»» '!^. r.c.i/. (/^t,.!i»>. oli iiciyif o to lyj'-i^'y tC' ^l:^';/>c:;:^. 4^^^^ '^j^l/r^j^y i>Vt^;i;;^>/(jy l^/(/^^^ Present and previous Collections of Humyun's verses. •^ »• ^ . •• • ".d- t^ I" rJi^ci/^HTy-if:f'^>cf;(^j^^,L/.cr^i^H/^^''^^^ t^XcJ 6\j^ i:)\j\ij^ ^^.c^ (// (3y^ ^/>i; • • » * • to* •• * • «•* tUL ^ tL , " t," ' / , »• '^^ .L^^F/if {:)\hoh^ d>(/>.''x • V* )JJ^ (/(}'(bbf/^ f.c!^/ .ri^i^.^ '/)^h'i5A'^-^J''>^>\^i^ * XI >yy u^y u^ i • • •• u^ * • • — — I" " ::^;^b i,(>^'^ J7(y lJjJb> tf^i^^ (//.^;fy J^^ .^y //. ^ W' • * JV_ i-i^^ • i^j l> I i^^c/'>^«-<i v^/y-* 14^ ^ ^/U! 4'^'•i^-'^' ^'2 (r/''r(/j;).6);:i^Vyrc ' * * - * »• •• • iy^'(,/(^jy^)(^irtr,\^ L^< oi- 4 ^I'^io,/ t/; u ,[)^ /]AJ /(JJJJ ^ -^ ^li)ijfd^J'J::^yt, jy I JL/;/ V> ;; - 4-uO^/i?L^ ill ^ (IA V) ICTJ'^^^J'^(/^^^ DM (JfX U ^ t O* J y l7>; C^ }^; (/y cj^ii^ * - I / -• • •' . y » • y > i, / .[tPij* ^^wj^ o[ij)U ^ ^ ' • ' *. "Above letter contained also four verses qi^oted rrom salman-e-sawaji." rri.(/JJl.6'.t)yU^->U'U^/^^lr')c_/:^ci ***** *• It' —. ' t "^ I • >. • >» "Perhaps the verses were not even quoted by Hamayun. Thpy represent Humayun's feelings as interperted by Abul- Fazal". •• •• •• "^ • \{f-:^6\^> Ujf S ^ /^^JL// /A J * / ^-f^/ J^>/ c^/j >'>^ v> /-^!>^'Li( ;L .ji^vL c^b^-y (i;l^/f. \ri> • fc* » "^X • • ^^ ^^ ^ W * /y * 0^ • • ••i ^ ^ IK> '•'^., Zj\MjliiJ^ (1^^-4/cHc^^i^-Oil (;>>/;(/) » •• :^o}^^\j[j>\\iJ\ffO\l)-Jjfif^::^\.^y irr rr \r})Cj^x:^r^\f^\ - ,r^^ jy.d/ /J\ :i^^ij:)/\i/t Li^^i/j»7CA^;ic>(; -^•^.cf^i/c/'xi^oi^ A^J ^JjO/ij^ii: i^yiym AIM ^' \Y'^ /<» ^''^ -^- "'"•'••'y"n ,n ,i.,. K,,y ,.. ,, ,.„,,.,„,„ I'MH. ' \n ii. It was nppnronlly in 9 5 7/155.. C.A. f.Lory Srv^ II. l.\i.'; J. p. \\2. \r/\ iri • • • • - •* y .
Recommended publications
  • World Rural Observations 2017;9(2) 73
    World Rural Observations 2017;9(2) http://www.sciencepub.net/rural Invulnerability in Shahnameh and the Song of the Nibelungen Mehrnoush Mehrabi [email protected] Abstract: This paper is concerned with the theme of invulnerability in Iranian and German mythology, especially in two remarkable works of literature, Shahnameh and the Song of the Nibelungen. Myths and legends are in fact the beliefs and ventures of different nations in previous ages. Legends deal with subjects such as gods, the creation of the world and the mankind, and so on. The theme of invulnerability is a major one amongst legends. This paper tries to discuss the similarities and differences of this theme in two aforesaid immortal epics. Such research on the similarities and differences of literary works will be presented as a comparative literature. [Mehrnoush Mehrabi. Invulnerability in Shahnameh and the Song of the Nibelungen. World Rural Observ 2017;9(2):73-77]. ISSN: 1944-6543 (Print); ISSN: 1944-6551 (Online). http://www.sciencepub.net/rural. 12. doi:10.7537/marswro090217.12. Keywords: Invulnerability, Shahnameh, Nibelungen, Theme, Comparative literature. Introduction For this purpose, this paper is initially going to Epic is among the eldest literary forms and is briefly define the concept of comparative literature, only visible in the literature and culture of the people and providing concise information regarding both with old history and ancient myth. Undoubtedly, “ epics, it tries to study and analyze the gift of Shahnameh is the best and most remarkable epic invulnerability. Then, it is going to scrutinize the poetry in the literature of the world that deals with similarities and differences of the role of invulnerable heroic deeds” (Kazazi1372:188).
    [Show full text]
  • Mewlana Jalaluddin Rumi - Poems
    Classic Poetry Series Mewlana Jalaluddin Rumi - poems - Publication Date: 2004 Publisher: Poemhunter.com - The World's Poetry Archive Mewlana Jalaluddin Rumi(1207 - 1273) Jalal ad-Din Muhammad Balkhi (Persian: ?????????? ???? ?????), also known as Jalal ad-Din Muhammad Rumi (?????????? ???? ????), and more popularly in the English-speaking world simply as Rumi (30 September 1207 – 17 December 1273), was a 13th-century Persian[1][6] poet, jurist, theologian, and Sufi mystic.[7] Iranians, Turks, Afghans, Tajiks, and other Central Asian Muslims as well as the Muslims of South Asia have greatly appreciated his spiritual legacy in the past seven centuries.[8] Rumi's importance is considered to transcend national and ethnic borders. His poems have been widely translated into many of the world's languages and transposed into various formats. In 2007, he was described as the "most popular poet in America."[9] Rumi's works are written in Persian and his Mathnawi remains one of the purest literary glories of Persia,[10] and one of the crowning glories of the Persian language.[11] His original works are widely read today in their original language across the Persian-speaking world (Iran, Tajikistan, Afghanistan and parts of Persian speaking Central Asia).[12] Translations of his works are very popular in other countries. His poetry has influenced Persian literature as well as Urdu, Punjabi, Turkish and some other Iranian, Turkic and Indic languages written in Perso-Arabic script e.g. Pashto, Ottoman Turkish, Chagatai and Sindhi. Name Jalal ad-Din Mu?ammad Balkhi (Persian: ?????????? ???? ????? Persian pronunciation: [d?æl??læddi?n mohæmmæde bælxi?]) is also known as Jalal ad- Din Mu?ammad Rumi (?????????? ???? ???? Persian pronunciation: [d?æl??læddi?n mohæmmæde ?u?mi?]).
    [Show full text]
  • Contents Texts and Manuscripts: Description And
    CONTENTS TEXTS AND MANUSCRIPTS: DESCRIPTION AND RESEARCH. 3 J. Musaelian. On the First Kurdish Edition of the Sharaf-niima by Mulla (Mela) Ma9miid BayazTdT 3 M. Vorobyova-Desyatovskaya. A Sanskrit Manuscript on Birch-Bark from Bairam-Ali: I. The Vinaya of the Sarvastivadins (part 3) . 7 M. Hasani. A Unique Manuscript of the Medieval Medical Treatise al-lktifa' by Abii-1-Mutrib 'Abd al-Rahman 20 Du Weisheng. The Ancient Fengkui ~H ~i!f (Stitched) Books from Dunhuang . 25 TEXT AND ITS CULTURAL INTERPRETATION. 33 I. Petrosyan. Pre-Islamic Turkic Tradition in the Writings of the Early Ottoman Historiographers 33 PRESENTING THE COLLECTIONS . ................... 36 M. Vorobyova-Desyatovskaya. Sanskrit Manuscripts from the N. F. Petrovsky Collection in the St. Petersburg Branch of the Institute of Oriental Studies . 36 MANUSCRIPTS CONSERVATION . ... 40 N. Brovenko. On Changing the Means of the Berezovsky Collection Storing 40 ORIENTAL MANUSCRIPTS AND NEW INFORMATION TECHNOLOGIES. 47 H. Kaileh. A Feasibility Study for the Digitalisation of Arabic Manuscript Collections in Jerusalem. 47 PRESENTING THE MANUSCRIPT 58 O. Akimushkin. A Copy of the "Early Diwiin" by JamT in the Collection of the St. Petersburg Branch of the Institute of Oriental Studies . 58 BOOK REVIEWS . ......... 66 Manuscripta Orienta/ia in 1999, vol. 5, Nos. 1-4 (list of contributions) . 71 F r o n t c o v e r: "The Sultan's repose in nature", miniature from 'Abd al-Ral)lni!n Jiimf's Diwiin, manuscript C 1697 in the collection of the St. Petersburg Branch of the Institute of Oriental Studies, A. D.1486/87, fol. 243 b, 7.7X 7.7 cm.
    [Show full text]
  • Introduction to Jami
    Introduction to Nūr al-dīn ʿAbd al-Raḥmān Jamī (1414-1492) Having looked last week at the essentially oral tradition of Kabir, we come, by contrast, this week to one of the most cultivated and highly educated figures not only of the 15th century, but of the entire Islamic poetic tradition, Nūr al-dīn ʿAbd al- Raḥmān Jamī (1414-1492). Born in Khorasan, he spent most of his life in Herat under the reign of the Timurids, at a time when this region was the most advanced and culturally brilliant centre of the Islamic world. Jamī was not just a poet, although poetry does seem to have received his most intense and abiding attention; he was also a brilliant scholar, a Sufi master of the Naqshbandī order, and one of the most important interpreters of the ideas of Ibn ‘Arabī, writing several important commentaries and expositions which, in the eastern regions, were as highly regarded and widely studied as the works of the Shaykh al-akbar himself. Jamī’s output was prodigious; there are about 39,000 lines of verse extant, plus 31 prose works. In contrast with Kabir, these were well preserved in manuscripts that have come down to us in the present day – Herat being, as we saw in our first week, a great centre of book production in the 15th century. Despite this, he has been oddly neglected at certain periods and in certain places within the Islamic world – he is not as widely known and universally loved as, say, Hafiz, Sa’di or ‘Iraqī – and also by modern western scholars.
    [Show full text]
  • Download (814.04
    National Council for Promotion of Urdu Language Ministry of Human Resource Development Department of Higher Education, Government of India Farogh-e-Urdu Bhawan, FC-33/9, Institutional Area Jasola, New Delhi-110 025 SANCTION ORDER Consequent upon the recommendations of the Grant-In-Aid Committee in its meeting held on 5thMarch, 2017 sanction is accorded to the Grant-in-Aid of Rs. 1,93,50,403/- (Rs. One Crore Ninety Three Lakhs Fifty Thousand Four Hundred Three only) in favour of the following NGOs/ Organizations/Authors/Submitters (amount is indicated against each one), for undertaking selection of Urdu Promotional activities. Proposals for Seminar/Conference/Workshop/Mushaira S. S. Name & Address of the NGO/VO/ Topic Sanctioned Grant No No Institutions (in Rs.) Andhra Pradesh 1. 1. Dr. Mohd. Nisar Ahamed National Level 1,00,000/- Asstt. Prof. Seminar Dept. of Arabic, Persian & Urdu Junoobi Hind mein Urdu Nazm Sri Venkateswara University, Tirupati- 1960 ke Baad خٌْثی ہٌذ هیں اسدّ ًظن 1960 کے ثعذ AP ,517501 9441393561 [email protected] 2. 2. Dr. Irfana Begum National Level 1,00,000/- Asstt. Prof. Seminar Dept. of Urdu Ekkiswein Sadi mein Urdu K.V.R. Govt. College Women Afsana اکیغْیں صذی هیں اسدّ افغبًہ ,(Autonomous) Kurnool-518004, AP 9966458939 [email protected] 3. 3. Dr. S. A. Sattar Saheb National Level 1,00,000/- Prof. & Registrar Seminar Dept. of Urdu Urdu Ghazal: Kal Aaj aur Kal اسدّ غضل: کل آج اّس کل ,Dr. Abdul Haq Urdu University Kurnool-518001, AP 9440167176 [email protected] 4. 4. Mr. Usman Anjum National Level 1,50,000/- President Seminar/Mushaira Bazm-e-Asnaam Ekkiswein Sadi mein Urdu Literary & Cultural Association Tanqeed ki Peshraft اکیغْیں صذی هیں اسدّ تٌمیذ کی پیF-204, Sania Homes, Laxmi Nagar ؼ سفت ,Colony, Sujata Nagar Visakhapatnam-530051, A.P 9393125906 [email protected] 4,50,000/- Bihar 5.
    [Show full text]
  • A History of Ottoman Poetry
    51 told against him, and still more the extreme penury in which the greater part of his life was passed. This compelled him to place his immediate wants before all else ; he could not afford to work for art's sake alone, and many of his verses were written either for money or in the hopes of gaining it. That under such conditions he should have attained the high position that he did proves him to have been possessed of more than ordinary ability, and the remark of the critics quoted by Latifi is well-founded that it must have been by sheer force of native talent that a man without education, who had never sat at the feet of muderris or professor, was able to produce works of imaginative art that filled the cultured with admiration and amazement. The biographer just mentioned waxes enthusiastic when discussing Zati's gifts; not only is he the most prolific of the lyrists, but had it not been for his deafness and his poverty it is certain that not one of all tliose who went before or followed after him could have approached him, for he would have been uiiif|uc in the cycle and pre-eminent on the earth; 'many an age must the circling heavens roll ere mother earth bring forth to the world fiom the womb of nature one of loft\' genius like to i)ini.' 'i'lic wrilci' adds thai tin- critics are agreed that he was a master in subtile fancies and imaginative language, and compared him to the IV-rsian pott She\kh Kem.il;' for which among the arts of |ioetr\- did lie not |)ractise, and to what virgin lanc\' did iiol his |)ieriiiu; wit attain:' L.ttih's, liow(;ver, is no .it imie Uhnd .k hnii ion ; he is .il>l<' ,((• to the weakness as well a.
    [Show full text]
  • Universi^ Micn^Lms
    INFORMATION TO USERS This reproduction was made from a copy of a document sent to us for microfilming. While the most advanced technology has been used to photograph and reproduce this document, the quality of the reproduction is heavily dependent upon the quality of the material submitted. The following explanation of techniques is provided to help clarify markings or notations which may appear on this reproduction. 1. The sign or “target” for pages apparently lacking from the document photographed is “Missing Page(s)”. If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting througli an image and duplicating adjacent pages to assure complete continuity. 2. When an image on the film is obliterated with a round black mark, it is an indication of either blurred copy because of movement during exposure, duplicate copy, or copyrighted materials that should not have been filmed. For blurred pages, a good image of the page can be found in the adjacent frame. If copyrighted materials were deleted, a target note will appear listing the pages in the adjacent frame. 3. When a map, drawing or chart, etc., is part of the material being photographed, a definite method of “sectioning” the material has been followed. It is customary to begin filming at the upper left hand comer of a large sheet and to continue from left to right in equal sections with small overlaps. If necessary, sectioning is continued again—beginning below the first row and continuing on until complete.
    [Show full text]
  • Firdawsi's Shahnama in Its Ghaznavid Context A.C.S. Peacock1 Abstract
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by St Andrews Research Repository Firdawsi’s Shahnama in its Ghaznavid context A.C.S. Peacock1 Abstract Firdawsi’s Shahnama, the completion of which is traditionally to around 400/1010, is generally thought to have been a failure at first. It is said by both traditional accounts and much modern scholarship to have been rejected by its dedicatee Sultan Mahmud of Ghazna, and its contents of ancient Iranian legends, transmitted from earlier sources, are widely considered to have been out of step with the literary tastes of the Ghaznavid period. This article reassesses the reception of the Shahnama in the Ghaznavid period, arguing that evidence suggests neither its style nor contents were outdated, and that its tales of ancient Iranian heores had a great contemporary relevance in the context of the Ghaznavid court’s identification of the dynasty as the heir to ancient Iran. The extent to which Firdawsi can be shown to have relied on pre-Islamic sources is also reevaluated Key words Firdawsi – Shahnama – Ghaznavids – pre-Islamic Iran – Persian poetry The reception history of few books can be as well-known as the Shahnama: the allegedly cool reaction of sultan Mahmud of Ghazna (d. 421/1030) when presented with the work around the year 400/1010, and the biting satire on the ruler Firdawsi is claimed to have penned in response, together form part of the Shahnama legend.2 Firdawsi’s hostile reception by the rival poets of Ghazna, for instance, became a topic of miniature painting in manuscripts of the poem,3 and lines such as the satire were interpolated to underline the point.4 Today, the poem’s initial flop is usually taken for granted, and has been attributed to both its form and its contents, which are assumed to be purely antiquarian,5 bereft of any contemporary relevance.
    [Show full text]
  • Mirza Asadullah Khan Ghalib / Diwã¢Ne-Ghalib
    Mirza Asadullah Khan Ghalib / Diwân-e-Ghalib: Complete Translation Into English, Including All the Ghazals, Qasidas, Masnavis, Qitas & Quatrains of the Published Diwan and a Selection from the Unpublished Diwan / Ghalib Institute, 2003 / 2003 It includes all the works of the published Diwan (Ma'ruf) as well as a selection of the unpublished (complete) Diwan known as the Nuskha-e-Hamidia. About the Author: Daughter of a distinguished medical practitioner, the author was inculcated a love of Urdu and Persian poetry at an early age by both parents, especially her erudite mother. The present work is a complete translation in rhymed verse, of the whole of the published Diwan including the ghazals, qasidas (panegyrics), masnavis, qitas and quatrains. Most of the material, not included in the published Diwan as such, but usually published with it, is also presented as Addendum I. This also includes the Sehra or marriage chaplet, subject of a famous controversy with the Poet Laureate, Zawq. The first step in the selection of the trial jury is the selection of a "jury panel". When you are selected for a jury panel you will be directed to report, along with other panel members, to a courtroom which a case is to be heard once a jury is selected. The judge assigned to that case will tell you about the case and will introduce the lawyers and the people involved in the case. You will also take an oath, by which you promise to answer all questions truthfully. Remember that the lawyers are not trying to embarrass you, but are trying to make sure that members of the jury do not have opinions or past experiences which might prevent them from making an impartial decision.
    [Show full text]
  • Naqshbandi Sufi, Persian Poet
    ABD AL-RAHMAN JAMI: “NAQSHBANDI SUFI, PERSIAN POET A Dissertation Presented in Partial Fulfillment of the Requirement for The Degree Doctor of Philosophy in the Graduate School of the Ohio State University By Farah Fatima Golparvaran Shadchehr, M.A. The Ohio State University 2008 Approved by Professor Stephen Dale, Advisor Professor Dick Davis Professor Joseph Zeidan ____________________ Advisor Graduate Program in History Copyright by Farah Shadchehr 2008 ABSTRACT The era of the Timurids, the dynasty that ruled Transoxiana, Iran, and Afghanistan from 1370 to 1506 had a profound cultural and artistic impact on the history of Central Asia, the Ottoman Empire, and Mughal India in the early modern era. While Timurid fine art such as miniature painting has been extensively studied, the literary production of the era has not been fully explored. Abd al-Rahman Jami (817/1414- 898/1492), the most renowned poet of the Timurids, is among those Timurid poets who have not been methodically studied in Iran and the West. Although, Jami was recognized by his contemporaries as a major authority in several disciplines, such as science, philosophy, astronomy, music, art, and most important of all poetry, he has yet not been entirely acknowledged in the post Timurid era. This dissertation highlights the significant contribution of Jami, the great poet and Sufi thinker of the fifteenth century, who is regarded as the last great classical poet of Persian literature. It discusses his influence on Persian literature, his central role in the Naqshbandi Order, and his input in clarifying Ibn Arabi's thought. Jami spent most of his life in Herat, the main center for artistic ability and aptitude in the fifteenth century; the city where Jami grew up, studied, flourished and produced a variety of prose and poetry.
    [Show full text]
  • Tadhkirat Al-Sh.U Lara
    Mir Dawlatshah Samarqandi Tadhkirat al-sh.u lara Mir Dawlatshah Samarqandi was the son of Amir Ala'uddawla Bakhtishah Isfarayini, one of Shahrukh's courtiers, and nephew of the powerful Amir Firozshah. Unlike his fore- bears, who "passed their time as aristocrats in ostentatiousness and opulence," Mir Dawlatshah, who was of a dervish bent and had some poetic talent, "sought seclusion and contented himself with a life of spiritual poverty and rustication to acquire learning and perfection."! At the age of fifty he began his Tadhkirat al-shu'ara (Memorial of poets), anecdotes about and short biographies of 150 Persian poets, ancient and modern, which he completed in 892/1487. The judgment of Mir Ali-Sher Nawa'i, to whom the work was dedicated, was that "anyone who reads it will realize the merit and talent of the compiler." Although the book deals primarily with poets, since poets generally were inextricably bound to royal patrons, it contains valuable anecdotal information on many pre- Timurid, Timurid and Turcoman rulers. The synopses of rulers' careers and anecdotes illustrative of their characters included by Dawlatshah are translated and given here. * SULTANUWAYS JALAYIR2 out of a greedy poet's house is a difficult task," and gave him the candlestick. That [po288] It is said that one night Khwaja is how rulers rewarded poets in bygone Salman [Sawaji] was drinking in Sultan times.... Uways's assembly. As he departed, the sultan ordered a servant to light the way Dilshad Khatun was the noblest and for him with a candle in a golden candle- most beautiful lady of her time.
    [Show full text]
  • RAMPUR RAZA LIBRARY 42Nd Annual Report 2016-2017
    RAMPUR RAZA LIBRARY (Ministry of Culture, Government of India) 42nd Annual Report 2016-2017 1 © Rampur Raza Library, Rampur All rights reserved. No part of this book may be reprinted or reproduced or utilized in any form or by any electronic, mechanical or other means, now known or hereafter invented, including photocopying and recording, or in any information storage of retrieval system, without prior permission of the publisher, except as brief quotation for academic purpose. Name of the Book : 42nd Annual Report 2016-2017 RAMPUR RAZA LIBRARY, RAMPUR Published by : Prof. Syed Hasan Abbas Director, Rampur Raza Library, Rampur Phone : 0091-595-2325045, 2327244 Rampur Raza Library 0091-595-235346 (Ministry of Culture, Govt. of India) Fax : 0091&595&2340548 Rampur 244901(U.P.) INDIA Website : www.razalibrary.gov.in E-mail : [email protected] 2 CONTENTS 1. Journey of Library from foundation to present 2. Library Building & Land 3. Raza Library Museum 4. Treasures of Library 5. Act & Regulations 6. Objectives 7. Rampur Raza Library Board & Sub-Committees 8. Security of Library 9. Raza Library Awards & Research Scholarships 10. Technical Services 11. Cataloguing 12. Computerization & Digitization 13. Reference Services to Scholars 14. Services to Readers 15. Projects undertaken by library 16. Publications of Library 17. Conservation & Preservation 18. Training / Conference 19. Museum Work 20. Social Platforms of Library 21. Distinguished Visitors 22. Academic & Cultural Activities 23. Appendices 24. Accounts & Audit Report 3 42nd ANNUAL REPORT 2016 – 2017 PREFACE I feel great pleasure in presenting the 42nd Annual Report on the functioning of the Rampur Raza Library from April 1st, 2016 to March 31st, 2017.
    [Show full text]